A Tale of Two Cities - Trinity Repertory Company

[Pages:26]A Tale of Two Cities

By Brian McEleney based on the novel by

Charles Dickens Directed by Tyler Dobrowsky

STUDY GUIDE

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Education

Table of Contents

Sponsored by

Theater Audience Etiquette....................................................................................................... 3 Using the Guide in Your Classroom ............................................................................................ 4

Season sponsored by

Support for Trinity Rep's education programs comes from the Dexter Donation Trust, The Norman and Rosalie Fain Family Foundation, Phyllis Kimball Johnstone & H. Earl Kimball Foundation, Mary Dexter Chafee Fund, The McAdams Charitable Foundation, Rhode Island State Council on the Arts, Shakespeare in American Communities, Textron Charitable Foundation, Theatre ForwardThe Yawkey Foundation, Otto H. York Foundation, and many individual donors

Prepared by Joi Wright & Trinity Rep's Education Department Designed by Jessica Thomas

Unit One: Background Information

A Conversation with the Director: Tyler Dobrowsky..................................................................... 6 About the Playwright & Director ................................................................................................ 7 Historical Context: Behind the Setting & The French Revolution.................................................. 8 Plot Synopsis ........................................................................................................................... 9 Major Themes & Discussion Questions ....................................................................................... 10 Character & Cast....................................................................................................................... 12 Conversation with the Director & Playwright.............................................................................. 13 Biography of Dickens................................................................................................................. 15

Unit Two: Entering The Text

Warm-Ups................................................................................................................................. 17 One Word at a Time.............................................................................................................. 17 Ten Second Objects.............................................................................................................. 18 What Are You Doing? ........................................................................................................... 18

Exercise 1: Love, Hate, and Ambivalence.................................................................................... 19 Exercise 2: What's in a Role? .................................................................................................... 20 Exercise 3: I'm Not Bad, I'm Just Drawn That Way...................................................................... 20 Exercise 4: Letters to a Character.............................................................................................. 21 Exercise 5: 101 Ways to Read a Monologue ................................................................................ 21

Monologues ......................................................................................................................... 22 Scenes ................................................................................................................................ 23 Bibliography.............................................................................................................................. 26

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Theater Audience Etiquette & Discussion

PLEASE READ CAREFULLY AND GO OVER WITH YOUR CLASSES BEFORE THE SHOW

TEACHERS

Speaking to your students about theater etiquette is ESSENTIAL. Students should be aware that this is a live performance and that they should not talk during the show. If you do nothing else to prepare your students to see the play, please take some time to talk to them about theater etiquette in an effort to help the students better appreciate their experience. It will enhance their enjoyment of the show and allow other audience members to enjoy the experience. The questions below can help guide the discussions. Thank you for your help and enjoy the show!

ETIQUETTE

What is the role of the audience in a live performance? How is it different from seeing a film? Why shouldn't you talk during the play? What can happen in live theater that cannot happen in cinema?

Reiterate that students may not talk during the performance. Please make sure all cell phones and alarms are turned off. Recording devices and cameras are strictly prohibited. If there is a disturbance, they will be asked to leave and the class may not be invited back to the theater. Students may not leave the building during intermission.

DISCUSSION QUESTIONS BEFORE SEEING THE SHOW AT TRINITY REP:

What are the differences between live theater and cinema? (Two dimensional vs. three dimensional; larger than life on the screen vs. life-size; recorded vs. live, etc.) Discuss the nature of film as mass-produced, versus the one-time only nature of live performances. Talk about original art works vs. posters. Which do they feel is more valuable? Why? What is the responsibility of an audience when watching a play? What is the responsibility of an audience when watching a Shakespeare play?

Observation #1

When you get into the theater, look around. What do you see? Observe the lighting instruments around the room and on the ceiling. Look at the set. Does it look realistic or abstract? Try to guess how the set will be used during the show.

Observation #2

Discuss the elements that go into producing a live performance: The lights, set, props, costumes, and stage direction. All the people involved in the "behind the scenes" elements of the theater are working backstage as the play unfolds before the students' eyes. Tell them to be aware of this as they watch the show. Observe the lighting cues. How do special effects work? How do the actors change costumes so fast?

Pay attention to when you're excited about something on stage. What excited you? Pay attention to when you're bored. Why were you bored? What would you have done differently to make the play more interesting? Actors in a live performance are very attuned to the audience and are interested in the students' reactions to the play. Ask the students to write letters to the actors about the characters they played and to ask questions of the actors.

Send these letters to: Trinity Repertory Company, c/o Education, 201 Washington St., Providence, RI 02903 or email to: education@.

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USING THIS STUDY GUIDE IN YOUR CLASSROOM

A Letter from Associate Education Director Matt Tibbs

Welcome to Trinity Rep and the 54th

season of Project Discovery! The education staff at Trinity Rep had a lot of fun preparing this study guide and hope that the activities included will help you incorporate the play into your academic study. It is also structured to help you to introduce performance into your classroom through the following elements:

? COMMUNITY BUILDING IN YOUR CLASSROOM

? INSPIRATION AND BACKGROUND ON THE ARTIST

? ENTERING AND COMPREHENDING TEXT

? CREATING TEXT FOR PERFORMANCE

? PERFORMING IN YOUR CLASS

? REFLECTING ON YOUR PERFORMANCE

Trinity Rep's Project Discovery student matin?es help high school students in the following common core areas (for more information on the National Core Arts Standards, visit )

? Initiate and participate effectively in a ranges of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively (CCS.ELA-LITERACY.SL.9-10.1)

? Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme (CCSS.RL.9-10.3)

? Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (CCSS. RL.9-10.44)

? Investigate how cultural perspectives, community ideas, and personal beliefs impact a drama/theatre work (TH: Cn10.1.I.)

? Analyze and compare artistic choices developed from personal experiences in multiple drama/theatre works (TH: Re8.1.I.)

? Respond to what is seen, felt, and heard in a drama/theatre work to develop criteria for artistic choices (TH: Re7.1.I.)

? Evaluate and analyze problems and situations in a drama/theatre work from an audience perspective (TH: Re9.1.I)

Enjoy the show!

Matt Tibbs, Associate Education Director

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2019?20 Season at the Lederer Theater Center

under the direction of

Curt Columbus

Tom Parrish

The Arthur P. Solomon and

Executive Director

Sally E. Lapides Artistic Director

A Tale of Two Cities

by Brian McEleney ? based on the novel by Charles Dickens

THE ARTISTIC TEAM Directed by Tyler Dobrowsky Music Direction & Original Music by Joel Thibodeau Set Design by Eugene Lee Costume Design by Toni Spadafora Lighting Design by Kate McGee Sound Design by Peter Sasha Hurowitz Production Stage Managed by Kristen Gibbs*

February 20 ? March 22, 2020 in the Elizabeth and Malcolm Chace Theater

Sponsored by

Many thanks to The Providence Public Library for its assistance on this production.

Trinity Rep's 56th Season is sponsored by

THE CAST (in alphabetical order) Monsieur Defarge Stephen Berenson* Ensemble Rudy Cabrera Marquis, Ensemble Matt Clevy* Mr. Lorry Tim Crowe* Ensemble Jackie Davis* Miss Pross, Ensemble Rachel Dulude* Sydney Carton Daniel Duque-Estrada* John Barsad, Ensemble Jotae Fraser Lucie Manette Rebecca Gibel* Charles Darnay Taavon Gamble* Doctor Manette Brian McEleney* Ensemble David Rabinow Madame Defarge Rachael Warren*

Musicians Christopher Sadlers, Joel Thibodeau

A Tale of Two Cities is performed with one intermission.

Supporting Season Sponsor

Trinity Rep gratefully acknowledges the past support of the B.B. Lederer Sons Foundation, the State of Rhode Island, and the City of Providence.

Southwest is the official airline of Trinity Rep.

PICTURED ON THE COVER: RACHAEL WARREN COSTUME BY AMANDA DOWNING CARNEY ? IMAGE BY MICHAEL GUY

Production Director Laura E. Smith Assistant Stage Manager James Kane*

* Member of Actors' Equity Association, the union of professional actors & stage managers Trinity Rep Resident Acting Company member

PLEASE TURN OFF cell phones and alarms during the performance. Texting and cell phone use are limited to intermission, outside the theater. Photography, videotaping, and/or other video or audio recording of the performance by any means are strictly prohibited.

TRINITY REPERTORY COMPANY ? 201 WASHINGTON STREET ? PROVIDENCE ? RHODE ISLAND ? (401) 351-4242 ? WWW.

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Unit 1: Background

A Conversation with the Director: Tyler Dobrowsky

Tyler Dobrowsky , Director

Joi Wright: In your own words could you walk us through the story of Charles Dickens's A Tale of Two Cities?

Tyler Dobrowsky: Basically there's a love triangle between two guys that look exactly the same and a young woman named Lucie, and the love triangle happens during the French Revolution when all the poor people of France rose up and murdered all the rich people. So...pretty exciting stuff!

JW: Thus far, what excites you most about this production of A Tale of Two Cities?

TD: What I love about this production of A Tale of Two Cities is how fleet and actor-centric the adaptation is. It feels like every actor on stage is telling the story, and there is a real propulsive energy to it. We're also not doing the play traditionally, like it's a period piece, but instead it has a real contemporary feel to it (particularly the sets and costumes). The contemporary stuff doesn't feel intrusive, though -- rather it's just removing a barrier that says, "This play is set so long ago, and it has nothing to do with today." Hopefully this will make the play feel a bit more immediate to the audience (and particularly the young people coming to see it!).

JW: What has been some of your greatest challenges thus far with working on this production?

TD: There is a fair amount of imaginative staging that has to happen with this adaptation. And that is mostly very exciting, but it also requires a lot of planning and then a lot of thinking on your feet in the rehearsal room. Plus, there are fourteen actors, a huge set by TonyAward-winner Eugene Lee, live music... there's a lot going on! And truly it's all very thrilling, but there are a lot of moving pieces to keep track of! Luckily, I have some terrific actors and a great stage management team.

JW: Is there a particular character or scene that you connect with in this show, and why?

TD: I like several scenes in the play, but the reunion between Lucie and her father at the beginning and Carton's speech at the conclusion of the play are definitely standouts. I also love all the original music written and performed by Joel Thibideau.

JW: The play seems to wrestle with some major themes such as; social injustice, resurrection and sacrifice. What would you say are some major themes of this production?

TD: Yeah, those are definitely some resonant themes in the play. I would add that, what I love about this piece and why I think it's important today, is that it talks about political unrest and upheaval and how that's connected to economic and social inequality. When a society is unequal or unjust, it can only survive for so long before it's toppled... and then what fills that vacuum? Once something is dismantled, what takes its place? That's certainly apparent in the French Revolution, and I think it's a worthy conversation to have today. Plus, I love how the book and the play marry the larger political issues to personal stories.

JW: What are you most excited for the students to see in your production and what are some things you would like a student audience to take away from this production of A Tale of Two Cities?

TD: I hope they like the staging and the music and the story. I hope they are taken on a ride, and see how fun this book and this play can be. The story itself is so fun and rich, and Dickins' language so vivid and heartfelt...so I hope the students get a kick out of all that. And then I hope they enjoy it as a piece of theater, too!

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About the Director & Playwright

Tyler Dobrowsky: Director

Brian McEleney: Playwright

Tyler Dobrowsky has been a member of the education, literary, community engagement and artistic teams since 2003. He oversees Trinity Rep's new play development initiatives, where he has commissioned writers such as George Brant, Charise Castro-Smith, Jackie Sibblies Drury and Lauren Yee, as well as the New York Times best-seller, The Prince of Providence by Mike Stanton. He founded Trinity Rep's summer program for children, the Young Actors Summer Institute (YASI), and, in partnership with Rhode Island Latino Arts, created Teatro en el Verano, the theater's free, mobile, bilingual summer series. Directing credits at Trinity Rep include: Little Shop of Horrors; Into the Breeches! (world premiere); A Midsummer Night's Dream; Romeo and Juliet (with Rhode Island Latino Arts); Julius Caesar; A Flea in Her Ear; A Christmas Carol; Love Alone (world premiere); and It's a Wonderful Life. His work has also been seen at the following theaters: ART/Oberon (upcoming); Asolo Rep; Elemental Theater; Gamm Theater; PlayMakers/UNC; The Public Theater. He has taught at NYU's Tisch School for the Arts, the Brown/Trinity Rep MFA program, RISD, and Rhode Island College. Tyler serves on the board of Rhode Island Latino Arts and is a proud member of the Stage Directors and Choreographers Union. He received his MA from Brown University and his BA from Holy Cross. He lives in Providence with his wife, Taibi.

Trinity Rep/Actor: Over 75 plays, including King Lear, Richard II, Richard III, Julius Caesar, The Glass Menagerie, ... Edgar Allan Poe, Vanya and Sonia and Masha and Spike, The Odd Couple, Who's Afraid of Virginia Woolf?, The Cider House Rules, Angels in America, Long Day's Journey Into Night, The Merry Wives of Windsor, The Threepenny Opera, Cherry Orchard, Amadeus

Director: Over 25 productions as Trinity Rep Associate Director, including Death of a Salesman, To Kill a Mockingbird, Blues for Mister Charlie, Ivanov, The Grapes of Wrath, House & Garden, Absurd Person Singular, The Crucible, Twelfth Night, The Dreams of Antigone, A Raisin in the Sun, All the King's Men, Our Town, Hamlet, Measure for Measure.

Other: A graduate of Trinity College and the Yale School of Drama, he is Head of the Brown University/ Trinity Rep M.F.A. Acting Program

Brian McEleney, Playwright 7

Unit 1: Background

Historical Context: Behind the Setting & The French Revolution

A Tale of Two Cities is an 1859 historical novel by Charles Dickens, set in London and Paris before and during the French Revolution. Dickens sets A Tale of Two Cities primarily in Paris and London during one of the most turbulent periods of European history, the French Revolution. The novel covers events between 1775 and 1793, referring also to incidents occurring before that time. The French Revolution began in 1789 and continued in various forms through at least 1795. He did not concern himself with the revolution's immediate political or economic causes but focused on the human suffering that he believed warped the very humanity of individuals on both sides of the battle lines.

The French Revolution began on May 5, 1789, when the Estates-General (representatives elected to represent the clergy, the nobility, and the rest of the population) gathered together for the first time in more than 150 years. Most of the French population was frustrated by heavy taxes and a political system that put virtually all power in the hands of aristocrats. Revolutionaries tried to seize power, which led to rioting and violence in Paris, and on July 14, 1789, they stormed the Bastille fortress. Many French aristocrats fled to other countries, including England, and French revolutionaries attacked and burned the homes of the wealthy. In August 1789, the Revolutionary government published the Declaration of the Rights of Man, proclaiming a new vision of social and political equality.

Despite the hopes of creating a more just and equal society, violence and unrest continued. The French King and Queen were executed during a period known as the "Reign of Terror," which lasted from 1793 to 1794. During this time, anyone perceived as disloyal to the Revolutionary government could be imprisoned or executed. In total, more than 16,000 people were executed. The violence of the Revolution led other European countries to eventually declare war against France. The Revolution finally came to an end when a French general named Napoleon was recognized as the leader of the French state. The wars which began during the Revolution lasted until 1815, when Napoleon was defeated for the final time.

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